Pokémon Trozei! is a game I’ve wanted to play for many years. This comes naturally as I’m a fan of the franchise and puzzle games, in general. Even more so with it being a Nintendo DS game, meaning it was well-suited for bedtime play. I finally encountered a copy of the game for a fair price not too long ago, and have recently completed the single player campaign. It was a brief playthrough, but I found it to be a solid matching puzzle game with a unique style, all its own.
The game followed the exploits of Lucy Fleetfoot – a secret agent intent on rescuing stolen Pokémon. Following the guidance of her commanding officer and equipped with the Trozei Beamer, Lucy was able to track down storage units containing stolen Pokémon, and transfer them to a safe place. Her Trozei Beamer allowed her to see what Pokémon were in the Poké Balls, and when four or more like Pokémon were lined up, safely export them. In gameplay terms, this translated to sliding rows and columns of Pokémon icons around on the touch screen.
Games like this are usually noted as match-three, but this one started off like a match-four, requiring me to match four like Pokémon. But, once a row or column (no diagonal matching) of four Pokémon was matched, a Trozei Chance would happen. When this occurred, the requirements were lessened so I could match three like Pokémon, and if I was successful again, I was able to match pairs. Almost always, this resulted in large chains, clearing most of the Pokémon from the play field. The columns would plummet quickly, and the half-second I still had to line up multiples was ample time to react.
The campaign was void of story beyond the initial setup, although Lucy would do battle with bosses of the rival organization. In these instances, they spouted quick diatribes regarding Lucy’s cause and promoted their nefarious intentions. These quick little segments highlighted the unique art style of the game, which didn’t truly shine in the gameplay. The Pokémon icons were cool too, and highly distinguishable (to a fan like me, at least) but the character designs were evocative of 1960s spy cartoons, circa Nickelodeon during the 1990s.
It took me roughly three hours to complete Pokémon Trozei! and of that time, nearly an hour was spent battling the final boss. I didn’t spend any time with the multiplayer, but it seems like it’d be fun and that there’s some variation in the available modes; plus, it’s has single-card play which is always awesome. There’s a Pokédex of sorts to complete in-game, but it’s nothing more than a listing of the Pokémon, which totaled about 380 when this game was released. I didn’t find it incentivizing, personally. Still, I did enjoy the basic gameplay the game offered. It provided a unique take on the match-three formula and the implantation of the touch screen was perfect.
Wow! I just went back and read the reviews I wrote for the previous games I’ve played in the Grandia series – Grandia, II, and Xtreme. The grammatical errors and poor consideration for the paragraphs is awfully humbling. I completed Grandia III this week so hopefully I can construct a better review this time around. It sounds like I generally enjoyed the lot, and made mention of their narratives, characters, and gameplay. I’ll attempt to do the same here, albeit, better. Like its predecessors, it was developed by Game Arts, although it was published for the PlayStation 2 by Square Enix in 2006.
Yuki, a teenager with a passion for flying airplanes is the primary protagonist, and the element of flight plays a large part in the narrative, at least early on. Before too long though, the greater narrative kicks in. This, after Yuki and his mother Miranda encounter Alfina, another teenager, although one who’s able to communicate with the guardians of their world. Emellious, her twin brother shares this ability but, disillusioned, he seeks to destroy the guardians and revive Xorn, an evil guardian who he believes will bring about a world of crystalline harmony. As a result, Alfina is on the run from his henchmen.
As the narrative unfolded over the forty hours I spent with the game, the element of love kept appearing. Indeed, love no matter what the circumstance was the moral of Grandia III. It was illustrated in many instances, but no more powerful than the love Alfina had for Emellious, despite his actions. Up to their final confrontation, Alfina’s unyielding love for Emellious was the key to the protagonists’ eventual success. In the final cutscenes and battle, this aspect grew cheesy and I wouldn’t have been surprised if “All You Need Is Love” began playing over the credits.
What drew me to the series originally was the fast-paced battle system, and this game has the best in the series. The battle system is turn-based at its core but the leverage I was given in my actions and the quick pace do much to make it entertaining. In regards to the previous games, the only addition is the aerial combo. They didn’t amount to much extra damage, but were fun to strive for. Like in previous games, I used all of the magic and special attacks that were available to me; this, because they improved through their use, or improved correlating stats of the characters. Even having to grind levels for a few hours wasn’t so bad. In fact, I could trust the CPU-controlled characters enough to play a few Game Boy games during battles.
Grandia III is an expertly crafted JRPG. The narrative was entertaining enough to keep me interested, although it contained plenty of genre clichés. Some of the characters were cardboard cutouts from other games in the genre, heck even from earlier entries in the series. And the presentation of the struggle between good and evil was very simple. But the battle system is one of the genre’s best. The fast-paced nature made it feel more like a real-time battle system and I can’t get enough of those. Coupled with the continual stat and gear improvements that the genre is known for, it proved to be a worthwhile journey.
Resistance: Fall of Man is a game of banal hues. Whether I’m referring to the grayish picture it paints of Great Britain circa 1951 amidst the invasion of alien forces, the grim outlook for humanity, or the game’s stiff difficulty, it’s not in high spirits. It was a game that I had a hard time getting drawn into. Sgt. Nathan Hale, the game’s protagonist was unrelatable as he was mostly silent, uttering a handful of words throughout the four days covered. The third-person “past-tense” storytelling also didn’t help draw me in, although it was unique and fitting. Lastly, I just didn’t think the campaign was balanced well.
What’s initially distinguishing about the game is its alternate historical setting. Presumably, World War II never happened as the alien Chimera were ravaging the Soviet Union for decades. The rest of Europe was most likely wary of what was happening behind the Iron Curtain and preparing for the worst, as Great Britain had done. After overtaking Europe, the Chimera crossed the English Channel and all preparations went out the window as the country was lost in a matter of months. Afterwards, the United States sent in a large task force to seek out a secret weapon the Brits claim will save humanity; enter Nathan Hale.
For most of the introductory sequences I was under the impression that Nathan was a silent protagonist. He might well have been as he spoke, like, three times throughout the ten hour campaign. Instead, most of the story was told by Captain Rachel Parker, a British soldier who determined there was something amiss with Nathan immediately – he had been infected by the Chimera. It was of little consequence in the game ultimately, although it was always a pressing concern for her. With Nathan hardly speaking, he really wasn’t characterized, he was little more than the player’s avatar. But through Rachel’s recounting, he was given a story, at the very least.
The narrative cutscenes had Rachel talking about the game’s events in the past-tense, as though they had happened only a few days ago. As she was the one narrating the story, all references to Nathan were in the third-person. I thought these two storytelling mechanics distanced me from Nathan even more than him being a (near) silent protagonist. Nathan’s survival took him all over Britain, but I found the campaign to be relatively event-free and ultimately forgettable.
Gameplay was standard fare for a first-person shooter and it encompassed sequences common across the genre. There was a driving sequence or two including an expletive-inducing tank sequence that had me banging my head against a proverbial wall for countless attempts. What set it apart the most from other similar games was its armory, which makes sense as Insomniac earns high praise for their innovative weaponry. Many staples were present although I felt the game was at its best when I was utilizing a secondary feature or dispatching enemies with a weapon unlike anything I had used before.
Bringing down the enjoyment I had with the game was its difficulty. I’ll start with the health system. Nathan had four chunks of rechargeable health. When one was depleted, I was no longer able to regenerate it. This is highly prevalent nowadays (and it was seven years ago too (I can’t believe this generation is that old!)) but I’ve never played a game where recharging health took so long! On the other hand, the enemies are bullet sponges. I love that the M5A2 Folsom Carbine, the standard human assault rifle, has a 50 round magazine, but dumping into enemies yields a few kills before needing reloaded. Finally, the biggest offender was the checkpoints. I found them so infrequent; I’d have to do battle with dozens of enemies multiple times thanks to a single mistake. Between the three difficulty levels available to me, I chose normal but in many parts, it felt more like hard. This probably earns kudos from some hardcore shooter fans out there, but for someone just wanting to enjoy the game and have a decent amount of challenge, it was off-putting.
The game’s difficulty had me frustrated on many occasions, but I persisted and still think Resistance: Fall of Man was a solid FPS. The story and characterization did very little for me, although the alternate historical setting was plenty enough to start me off. I remember very little astonishing moments or set pieces, but the core gameplay, excluding the difficulty, was really good. I even jumped into the multiplayer for a few matches and had fun, despite a losing streak. I wasn’t exactly raring to jump into Resistance 2 after completing it, but I’d take the plunge anyways.
I’m going to approach this article a little differently than I usually do. The above is a link to a Joystiq article by Kat Bailey wherein she discusses her love for Valkyrie Profile. Coincidentally, I had quit playing Valkyrie Profile: Lenneth, the PSP remake, only a few days before she posted this article. After spending about thirteen hours with the game, I decided it wasn’t for me. Today, I’m going to riff off her article and try to get the core of what exactly it was about this game that didn’t appeal to me.
What Kat really dives into first is the combat system. She describes it as it is – “fun, fast, and interesting to look at” and I agree, but more so when she considers it serviceable. She doesn’t linger on it long and neither does the game. It’s a combat system that lacks much depth. In my time with the game I kept waiting for combat to expand and it never really did.
Towards the end of my tryst with the game, I began to see promise in the form of new skills. These augmented my roster of characters in many ways, but why didn’t I see more of these in the first third of the game? It would’ve given me more desire to customize my crew and maybe look forward to battles. There were many passive skills that increased stats with many more that seemed to only impact my ranking for sending characters to Asgard – a concept that’s barely discussed. The combat and support skills that began appearing after a dozen hours, I wish, would’ve appeared sooner.
As she continues, Kat begins discussing the role of the plot in the game and the dueling narratives. In regards to the overall story of Ragnarok, it’s very straightforward. Lenneth is on a quest to recruit einherjar to defend Asgard in the impending end of days. The subplots of Lenneth’s past and deeper truths of other important concepts in the game are present, and intentionally obtuse. Kat describes this subplot information as “bad game design” as it’s there for the player to experience but the main narrative misleads the player. I highly agree and would add that the game really doesn’t explain much about the subplot.
I do like the concept of the game misleading the player to believe an untruth, but I find it curious that these subplots are present, but there isn’t anyone advocating these paths to the player. I guess the player is expected to stumble upon these encounters, which isn’t guaranteed because of the game’s structure. Granted, in my time spent I only had a few encounters that were related, but they explained nothing! I suppose that’s to be expected in the first third of the game – questions, not answers – but, honestly, barely anything is explained in this game.
Perhaps, the biggest detractor to Valkyrie Profile was its lack of explanations in regards to pretty much anything be it a gameplay mechanic or story beat. That being said, I was dissatisfied with the lack of attention devoted to the, admittedly, large roster of characters. Besides the initial recruitment cutscene, there was little attention paid to them again. I also felt limited by the game’s structure. Divided into chapters and further into periods, entering towns and dungeons became a commodity as I did cost benefit analysis to determine whether or not to take a certain action. After a few hours though, I didn’t really want to explore because towns offered me nothing and dungeons were hardly any better. The combat was unimpressive in the first third of the game as well. So ultimately it was a combination of EVERYTHING that left me ambivalent towards seeing how Ragnarok played out.
Distilling MS Saga: A New Dawn to its most basic pieces is pretty easy, even after playing the game for only twenty or so minutes. Before I do that though, let me give some background information. MS Saga is a role-playing game for the PlayStation 2 based off of the Gundam franchise. It was released in North America on February 21, 2006 and was developed and published by Bandai. As it’s based off of the long-running anime series, mobile suits are abound, however it tells an original story. Now, onto a succinct distillation.
For starters, the gameplay is very traditional, and by that I mean basic. According to Wikipedia, the game was designed to be accessible to an audience unfamiliar with Gundam. I’d also add that it was designed to be accessible to those unfamiliar with RPGs because the combat seems ripped from a fifteen year old game, which isn’t bad. Bandai didn’t need to set the world on fire with a video game based off of a preexisting property. Instead they built a simple RPG around that property, and that works for me. I’m not an avid fan of Gundam and I like that MS Saga is easy to get into. Sometimes, I just want a simple RPG to play, one that I can casually play while listening to a podcast, all the while still going through the motions of character development and advancement.
Because I barely played MS Saga, I can’t comment on the worth of the characters or their surrounding world. Still, it took me by surprise when I realized that the protagonist was a male when he looked like a female. Androgyny aside, I imagine that like the gameplay, MS Saga is filled with characters and scenarios I’ve seen before. With the exception of piloting giant human-like mecha that is.
Mobile Suit Gundam is one of the most influential anime series out there, but in the video game realm, the Gundam franchise has been anything but influential. The franchise has been incredibly prevalent, appearing on many systems with many releases, and from what I can remember, games were generally received lukewarmly and that sums up my feelings regarding MS Saga: A New Dawn.
Besides the standard version of Final Fantasy XII, Square Enix released a collector’s edition of the game, exclusively to GameStop and EB Games in the United States. This version included the game and the same manual, of course, but it also came in a SteelBook package, along with a DVD containing a few special features.
Many games have since been released in these SteelBook packages, but I think Final Fantasy XII has one of the best ones. The front cover is simple, while the art on the inside of the case is intricate and detailed. It looks nice as a display piece on a shelf; otherwise it slips nicely in with the rest of a video game library being the typical DVD size case.
Included on the DVD are developer interviews, a history of Final Fantasy featurette, an art gallery, and trailers for the game.
There are quite a few developer interviews, twelve exactly, and they offer insights into different aspects of the game, from the director and what he was in charge of to what went into the translation. They’re all under five minutes, but there’s actually a lot of content to take in, and I always like hearing about what went into making a game.
The history of Final Fantasy featurette is a great way for people unfamiliar with the mainline Final Fantasy catalogue to get up to speed. The narrator discusses similar concepts with each game, and it would’ve been nice if he delved a little deeper into each game, but at thirty minutes, it’s a great primer to the series.
Viewing an art gallery on a DVD is about the last thing I want to do, but to its credit, there is a bunch of art included and it’s all tucked away in categories to aid in finding something specific. I feel the same way about the trailers. They’re put together very nicely, but I’m not learning anything new from them.
The collector’s edition of Final Fantasy XII is a nice package. The developer interviews were insightful, the history of Final Fantasy featurette was informative, but the art gallery and the trailers didn’t interest me too much. At this point it appears to sell complete for about ten dollars, comparable to the standard edition so if you’re in the market for the game, I’d recommend the collector’s edition.
I’ve completed another Final Fantasy, this time a more modern one, Final Fantasy XII. While I am knowledgeable about the series, I haven’t played a ton of them, but this is easily my favorite. I spent a month and a half playing through Final Fantasy XII in bits and pieces when I had the time and I’ve thought a lot about the game in the weeks since I beat it, what I’ve written are the my biggest takeaways from the game. I’ll talk about the world at large in Final Fantasy XII, Ivalice, the characters that form the party, the story very briefly, and the battle system. In general I feel Final Fantasy XII is a staple in the collection of anyone who enjoys role-playing games, and worth a look even for those don’t.
Final Fantasy XII takes place in Ivalice, a familiar environment for the series, home to the Final Fantasy Tactics games, as well as Vagrant Story. Ivalice spans many geographical regions, including many deserts, but it’s also home to snow covered mountains, tropical beaches, thick rainforests and more. Passing through these regions, I enjoyed not only the battles that took place in them, but marveling at the amount of work that went into making each location as detailed as they turned out.
Smack dab in the center of Ivalice is Dalmasca, home to Rabanastre, the city where much of the game takes place. Rabanastre is large, the largest city I’ve ever seen in a role-playing game, or any video game for that matter. Walking through its many areas, I viewed the beautiful architecture that it was composed of, reminiscent of a Europe of ages past. But Rabanastre isn’t the only large city in the game, there are others, but there is diversity in Final Fantasy XII; more common are the small gatherings of people, forming makeshift hubs, or villages in the heart of the wilderness, composed of foreign races.
After reading that the developers had visited Turkey and took an interest in European, Middle Eastern, and Asian cultures for the game, it’s easy to see that the influence has found a place in the game, specifically, much of Ivalice is set in a warmer climate, with Rabanastre being surrounded by deserts on all sides.
The vocabulary the characters often spoke with prompted me to look at some words’ meaning more than once and I’m not digging the game for it; I enjoyed hearing seemingly archaic words, broadening my own vocabulary; it’s something that helped reel me into the setting. Even though the game has an antique vibe, technology is everywhere. One of the first cut scenes in the game shows a battle raging with foot soldiers on the ground dressed in armor and swinging swords at each other; one side attempting to defend a castle-like structure with the other side attempting to capture it, meanwhile an aerial dogfight is going on between futuristic flying crafts, zipping about. This blend of swords and soldiers and futuristic sci-fi was an interesting juxtaposition of aesthetics.
Ivalice is a world built on the foundations of magicite; a magical crystal substance that holds power, power that inevitably will end up in the wrong hands. Long ago the Dynast-King Raithwall united all of Ivalice under his rule, with the help of magicite, bestowed to him by the mysterious Occuria, undying, god-like beings. The time of the Dynast-King Raithwall was thousands of years ago and current day Ivalice is on the brink of war.
The battle I mentioned earlier was between the Dalmascans, protecting Nabradia, the border between them and their attackers from the east, the Archadians. Archadia is a large kingdom, perhaps the most powerful at this time in Ivalice and they want Dalmasca. Why? Perhaps they want Dalmasca to allow them easy passage to a third kingdom, Rozarria in the far west. During the final moments of this battle, the king of Dalmasca has agreed to sign a treaty with Archadia, but he is assassinated directly after.
A couple of years after this, we are introduced to Vaan and Penelo, two orphans living in Rabanastre who both lost their parents in the war, as well as Vaan’s brother, who fought at Nabradia. Vaan has much disdain for the empire, after all the war took his whole family. Vaan doesn’t have much direction in life, he spends his days running errands for a shopkeeper along with other orphans of the war, but much of his time is spent stealing from others. His only real goal is to become a sky pirate and be able to live freely, going wherever he wants. Penelo seems to be the angel on Vaan’s shoulders, leading him out of trouble and attempting to prevent him from getting into any more. While Vaan has his goal of becoming a sky pirate, all it seems Penelo wants is to remain at Vaan’s side, and not lose anyone else.
Rabanastre is soon paid a visit by a member of the Archadian royal family, and the newest overseer of Rabanastre, Vayne Solidor, the son of the Archadian king. He is a charismatic person; as he begins speaking to the crowd of Rabanastrans, it’s apparent they don’t want what he’s selling, but Vayne is able to whip the crowd into frenzy and get behind his rule, at least somewhat, with a charming presence and an intelligent tone; he seems peculiar though. Vayne is tall, with long black hair, and a smile that seems… off, he just looks like an antagonist. After Vayne’s speech, Vaan decides to break into the royal tomb and steal something back from the empire and it’s during this escapade that he meets Balthier and Fran.
Balthier has a cool personality about him, he always appears to be in control of the situation; basically he’s the dashing pirate. His partner Fran is a viera, a woman with rabbit like features, including long ears and hair that practically flows to the ground. Like Balthier she also has a cool personality, never coming off as nervous. She definitely shows her smarts throughout the game, offering practical advice and necessary knowledge of magicite. As the game progresses Balthier comes to view himself as the leading man, and why not, being a sky pirate he has the airship that eventually transports the party, he shows an altruistic side later on and all in all, he’s just a fun character. And from the events that unfold, his past is brought to light and wow!
As they make their way out of the royal tomb, they soon stumble into a rebel group, headed by an unassuming beauty, who is later found out to be the princess of Dalmasca, Ashe. She is a strong-willed fighter who wants nothing more but to restore Dalmasca to the kingdom it was before Archadia took over. As the story progresses she has to find the strength within herself to do what she must; even though she is strong-willed, she has doubts about what she has to do, and whether she can pull off what must be done. At times she seems distant from the rest of the party members, almost focusing solely on what lies ahead for her, but with what lies ahead for her, who wouldn’t be focusing on that, after all, Ivalice’s future is practically on her shoulders.
Last, but not least, there is Basch, a former leader in the Dalmascan army, but now an outcast, as he has been charged with assassinating the king. The party finds him in prison, and while they know what he has done, they know they need him. But Basch does not have the demeanor or the attitude of a royal assassin; it becomes instantly apparent that this cannot be the man who murdered a king. He is a soldier through and through, showing respect for the rest of the party, and pledging allegiance to Ashe in particular.
There was a lot going on in the narrative of Final Fantasy XII, at times I felt overwhelmed, but I managed to sift through the dense amount of information and enjoyed the payoff. In the last ten or so hours of the game, all these story threads were coming to a close, and I didn’t want to stop playing; I was the most hooked to the game at the very end. I clocked in under 80 hours when I finally beat the game, and I still had plenty to do. I aim to replay Final Fantasy XII at some point, and I left plenty of side quests for that play through but I did an ample amount regardless. Final Fantasy XII is simply a massive game, with a massive amount of content.
I guess the only thing I haven’t talked about is the actual gameplay and the systems Final Fantasy XII employs. With each Final Fantasy, Square Enix implements a new battle system, or tweaks aspects of a previous one and Final Fantasy XII is no different.
Many role-playing games have plenty of areas to explore, and they’re usually broken up into towns, a world map that the party traverses, and dungeons. Typical of many RPGs, especially those from Japan are random battles. For instance, as I’m moving my party around the world map or a dungeon I see no enemies, but I’m randomly attacked and whisked off into a battle scene in which I choose the actions I want to take, and once I’ve won, I’m back to the world map or dungeon. Instead of random battles, when I wouldn’t know when I’d be attacked, Final Fantasy XII shows enemies while I’m traversing dangerous areas. This isn’t the biggest change however.
Just as random battles are common in role-playing games from Japan, so are turn-based battles, battles where everyone is allotted a turn, including the enemies. In games like this I would pick an action, my character would do that, and then the enemy would do the same. Instead of being whisked off to a battle scene in Final Fantasy XII, the party members begin attacking enemies whenever they’re in range, never being taken into a separate scene. Direct control was never taken away from me, I could move about and select the actions I wanted and when the battle was done, the party relinquished their weaponry and I continued exploring the area. This “Active Dimension Battle” system as Square Enix calls it requires real-time selection of actions, and as such, I didn’t wait for the enemy to have his turn and then take mine. I’d select an action for a party member to take, and then a bar would fill up and they would do that action, there are still elements of taking turns, but never losing direct control of my team went a long way in making me not feel limited.
Rather than entering in actions for each party member, I could assign “gambits” to them. Gambits tell the AI to “do this, if that.” There are hundreds of separate gambits and when paired up, they’ll tell an AI-controlled party member to do something. For instance, I could have Vaan use a potion on a party member when their health falls below a certain percentage, or attack only flying enemies. Each character can have twelve gambits assigned to them maximum, and they’ll follow them according to their priority. I felt as though I could pair gambits up for any occasion, even though I used fairly simple combinations, I knew I could get very creative with them. For the first twenty or so hours I assigned gambits to the two AI-controlled members of my party and chose every action for my main character, but I eventually had everyone using gambits. Instead of being a player on the field, I was more of a referee, changing actions when I thought something would work better or just healing somebody because I hadn’t told an AI member to watch out for a certain adverse affect.
With Final Fantasy XII, Square Enix developed Ivalice into one of the biggest and most detailed game worlds I’ve played through; introduced me to well-developed characters who did not seem like the played out caricatures I’m used to in role-playing games; showcased an interesting story, one that harkened back to the roots of Final Fantasy, with crystal-powered life, all the while, weaving an interesting mature tale of corruption and complex relationships. Lastly, I experienced gameplay systems that brought new elements to a genre I spend so much time with. For these things, and many smaller elements, Final Fantasy XII will be a game I gauge all others by.